The Romantic period derives its name from Romanticism- a term used to
describe a movement in art, literature, and music that valued freedom
of expression. Romanticism began in England and spread throughout
Europe and the United States. Romanticism was a rebellion against the
current
classical rules governing creative work. Followers of the Romantic
ideal believed the innermost emotions should be expressed, art should
please the senses, and imagination was more important than reason.
Romantics also had a deep connection with the past and often revisited
historical tales in their art, writing, and music.

The Romantic ideology connected with the American people and had a
significant influence on popular culture. American romantics had an
innate love for goodness, truth, and beauty and believed these were
qualities all individuals were capable of possessing. The revolution in
printing technology along with increased literacy amongst the American
population gave rise to famous Romantic writers like Lord Byron, Keats,
Emerson, and Thoreau.

The Romantic heroine was innocent and virtuous. She was known to faint
easily as a result of inner spiritual turmoil. In England, followers of
Romanticism rejected social conventions like marriage. Prior to this
period, marriages were arranged social
contracts drawn to protect property and maintain social status. But
thanks to the influence of Romantic ideology, love now became a
mandatory requirement for marriages.

Marriages became more egalitarian. In America, Romanticism sustained
the idea that a woman's place was in the home. Prior to this period,
women were treated more like servants than wives. Women now had the
opportunity to engage in leisure activities and form friendships with
other women. Child rearing became an important part of a woman's life.
Emphasis on the "child- centered family" emerged. The education of
children became a priority. The ideal wife and mother was an "angel of
the household." She was virtuous, wholesome, and genteel. She loved her
husband and her children and cared about everyone she came in
contact with.

The years 1820-1825
served as a transition period between
the former Empire style and the
new Romantic style.
During this period, the waistline was dropping and skirts became
fuller. Skirts were typically gored-
or cut in an
A-shape with the narrowest part of the skirt being placed at the top
and the fullest part of the skirt at the bottom.

Dresses with ornamentation were
favored- especially at the hemlines
and sleeves. The influences of Romanticism brought forth fashion trends
from the
past- such as neck ruffs, slashing
(the process of cutting away fabric to reveal what is beneath), and a
variety of medieval sleeve styles. Romantic era day dresses were not
trained.

Two dresses, both c. 1820, showing the influences of Romanticism on
fashion
(left) example of slashing in gown bodice and (right) the medieval inspired Marie
sleeve(L-Image courtesy The Kyoto Costume Institute)
(R-Image courtesy The V&A)

By the 1830s, the gored skirt was replaced by a fuller paneled skirt
and small pleats or gathers were used to draw the fullness in at the
waistband. The preference for untrimmed gowns returned and hemlines
were typically ankle length (and sometimes slightly shorter).

Sleeve styles in the 1830s were diverse- but typically always very
large. The gigot sleeve (later
referred to as the leg-o-mutton sleeve) consisted of a large puffed
sleeve at the shoulder that tapered down to a narrow, close fitting
cuff at the wrist. This style along with the demi-gigot sleeve was very
popular. Many bodices had V-shaped
necklines and were worn with variety of chemisettes and large white
collars, or pelerines, became
a popular accessory.

With the return of the emphasis on the small waistline, stays and petticoats once again
became a necessity. Romantic era stays were typically very lightly
boned or corded, laced up the back, and had a solid wood (or sometimes
ivory) busk down the center front (see
image at left). Multiple layers of petticoats were worn to
support the fullness of the skirt panels and a small bustle pad (also
known as a skirt improver)
was worn at the base of the waist.

During this period, cotton was still the preferential dress fabric. By
1825, border printed cotton was available and
advancements in textile coloration made available in the United States
colors such as yellow, orange, brown, and variety of
blues.

When venturing out of doors, the mantle,
or mantelet,
was the most
popular article of clothing. Wide-brimmed bonnets with high crowns were
worn also.

Dresses for evening wear were of the same silhouette as the day dress,
but necklines were lowered and off-the-shoulder, the chemisette was
abandoned, and sleeves and skirts shortened. Finer fabrics such as silk
or gauze was used for evening gowns accompanied by a more luxurious
mantle or mantelets than worn for day wear. Hair ornaments and ribbons
adorned elaborate hairstyles.

By 1837, the Romantic silhouette became a bit less flamboyant. The
fullness of the 1830s sleeve moved further down the arm. Hemlines
lengthened and sleeves became narrower. The waistline returned
to it natural position and rounded and pointed front bodices became
prominent.

The transition of the Romantic gown from the 1830s
silhouette (back)
to the 1837 silhouette (front) The Museum of Costume

Two early Victorian summer
gowns
(c.1840-1845). The Manchester Gallery
of Costume

Evening gown (c. 1840) of brocade silk and wool.New
Brunswick Museum

1840s

By
1841, the whalebone corset was a necessity- serving as both a
foundation to support the outer layers as a measure of internal female
decency. Clothing of late Romantic period called for a narrower sleeve
that fit low on the
shoulder. These close fitting sleeves coupled with the low shoulder
seam kept women from lifting their arms much above their heads.
Detachable undersleeves- or
rectangular pieces of cloth with a cuffed end- were sewn into the
sleeve and could be removed for regular laundering.

By the mid 1840s, the shape of the skirt took on a bell shape and stiff
crinolines along with multiple layers of petticoats became necessary to
aid in lifting the circumference of the skirt. Double flounced skirts
became quite popular. Bodices of the late Romantic period typically had
basque
waists(or elongated
waistlines which ended in a point at the front). Necklines were round,
V-shaped, and wide for both day and evening wear. Oftentimes
interchangeable chemisettes and collars were worn
during the day (see left).

Gowns of the late Romantic period were often made in one piece (the
bodice attached to the skirt) but jacket and skirt combinations were
also popular. The Gilet corsage
was a French term for a woman's jacket made in the style of a man's
waistcoat.

1845 American fashion plate showing a variety of late Romantic dress
styles-
including the jacket and skirt combinationThe New York Public
Library

Thanks to continued emphasis placed on the freedoms
associated with childhood, like the period prior, both young boys and
girls up to the ages
of four or five
were dressed in loose fitting muslin gowns with pantalets. The only
gender difference
was the lack of lace and ornamentation on boy's
gowns.

By 1830, girls' dresses after the age of six were composed of full
skirts and fitted bodices with large gigot sleeves. Girls'
attire mimicked that of their mothers' with the exception of the
pantalets. These were still visible just below the hemlines of their
skirts.

Boys between the ages four and ten wore tunics- or shirts
which were belted at the waist. Underneath their tunics,
Ankle-length trousers allowed for freedom of motion and comfort. Dressy
occasions called for the addition of a white collar and bow-tie to be
added
to the ensemble.

These pages are for educational
purposes only. All text copyright
Susan Jarrett. No unauthorized use without
permission.
Copyrighted images must be given
sourcecredit
as has been done on these page. Public domain images do not require
source credit.
Page revised January 2013